version—The original story as told by Fitzball—Libretto completed, delivered to the director of the grand opera, who bargains for it—Superiority of legend over history for musical treatment—Wagner and his meaning of the “Dutchman” anecdote related at Munich, 1866—The one of his music-dramas that occupied the shortest time in composition—It is sent to Meyerbeer—News from Dresden—“Rienzi” accepted, leaves for Germany

New and hopeful prospect—Feels assured of “Rienzi” proving successful—Ignored by Paris, received with open arms by Dresden, the hallowed scene of Weber’s labours—Joy at returning home a conqueror—A new life for Minna—Reissiger, chief conductor of the Royal Opera—Fischer, the manager and chorus director, his friend—His “Rienzi” and “Adriano”—First performance of “Rienzi”—Unmistakable success—Wagner appointed co-chief conductor with Reissiger—My own first acquaintance with Richard Wagner—August Roeckel, the man, friend, and musician—His letter describing Wagner—Intimacy and political sway over Wagner—Visit of Berlioz to Dresden—His opinion of the “Dutchman” and “Rienzi”—The father of Roeckel tutored by Beethoven in the part of Florestan—Meetings of Richard Wagner and Hector Berlioz—Cold bearing of the latter

Hostility of the Dresden press—Wagner’s energy and good humour when at the conductor’s desk—A born disciplinarian—Unflagging efforts to improve the spiritless performances of master works—Interest evinced by Spohr, who stigmatizes Beethoven’s third period as barbarous music—Wagner affects to ignore and despise criticism—In reality is abnormally affected by it—Attacks on his personal attire, home comforts, and manner of living—Wagner in seclusion—His tribute to the constancy and devotion of August Roeckel—Wagner’s opinion of Marschner and Mendelssohn’s “Midsummer Night’s Dream”—The “Faust” overture unsuccessful—Spontini and the “Vestal”—Visit of Wagner and Roeckel to Spontini—Weber obsequies—Max von Weber with me in London—Reception of the body in Germany—Funeral oration delivered by Richard Wagner—Comparison between Wagner’s public and private manner of utterance

“Tannhäuser”: story of its composition, poem and music—Its performance, 1845—First mention of Richard Wagner’s name in the London press—The criticisms (?) of 1845—An instance of the thoroughness of Richard Wagner—Dawn of the 1848 revolution and Wagner’s relation thereto—The follower of August Roeckel expresses regret at his heated language—Performance of the Choral Symphony under Wagner—Unusual activity displayed in the preparations—The way he set to work—Part explanation why I came to induce the London Philharmonic to invite him to this country—His grasp of detail—Forethought displayed in writing an analytical programme to acquaint audience with the meaning of the work—Successful performance—Characteristics of Richard Wagner—His opinion of Italian opera and dictum that an art work to endure must be founded in reason and reflection—“Lohengrin”: its popularity—“Music is love”—The network of connection between Wagner’s operas—Thoughts about “Lohengrin” remaining on earth—Wagner never able to control his finances—His position becomes embarrassed—At enmity with the world—Composition of “Lohengrin”—Letter to his mother—Passionate nature of Wagner—Complete identification of himself with his art—The manner of his accepting services—His courage inspires our admiration—The publication by himself of “Rienzi,” “Dutchman,” and “Tannhäuser”—A failure—“Tannhäuser” offered to the firm of Cramer, Beale, & Co. by me for nothing—Refused

Wagner significantly silent as to his participation in the Saxon Revolution, 1848-49—Wagner an active worker—Conclusive proof—A member of the “Fatherland Union”—Paper read by Wagner before the Union—His character—Charge of ingratitude towards his king absurd—Deputation to king of Saxony—The four demands of the people—Refused—Leipzic determines to march en masse on Dresden—Reforms promised—Founding of the “Fatherland Union”—Political leaflets printed and distributed—Wagner reads his paper June 16, 1848: “What is the relation that our republican efforts bear to the monarchy ?”—Printed by the Union—Copy forwarded to me at the time—Reproduced here—It is omitted from Wagner’s “Collected Writings”—An important document, since it forms part of the official indictment against Wagner—The paper treats of (1) relation of republic to monarchy; (2) nobility appealed to and urged to join in the commonwealth; (3) abolition of first chamber; (4) manhood suffrage advocated; (5) creation of national armies; (6) communism a senseless theory and its reign impossible; (7) appeal to improve the impoverished condition of the masses by timely concessions; (8) founding of colonies; (9) the greatest and most far-reaching reforms only possible under a republic of which the monarch is the head; (10) the king logically the first republican ; ( 11 ) “subjects” converted into “free citizens”; (12) war against the office of king and not against the person; (13) laudation of the Saxon potentate; (14) Wagner’s fidelity to the king; (15) advocates the abolition of the monarchy—National armies—Roeckel, Wagner’s assistant conductor, dismissed, autumn, 1848—Founds a political paper; Wagner contributes—Roeckel imprisoned for three days—The elections—Triumph of the democratic party—Roeckel elected a deputy—Revision of taxation and civil list—Subsidy to the theatre: Wagner defends it in paper delivered to minister; Roeckel to defend it in the chamber—Details of the paper