brought me an important step nearer the
realization of my life-mission." This was the theme which fortunately
he had then only to vary in Pesth and in Berlin.

The preliminary rehearsals now began, and what Munich had witnessed
in 1868 repeated itself ten times over in Baireuth during this summer
of 1875. For weeks there was the same untiring industry, but also
the same, nay increasing, enthusiasm. "Of this marvelous work I
recently heard more than twenty rehearsals. It over-tops and dominates
our entire art-period as does Mont Blanc the other mountains,"
wrote Liszt. The master frankly conceded that it was due to the
"unhesitating zeal of the associate artists as well as to the splendid
success of their performances" that he could now positively invite
the patrons and Wagner for the next summer. "Through your kind
participation may an artistic deed be brought to light, such as none
of the dignitaries of to-day but only the free union of those really
called could present to the world," he says. And:

"From such marvelous deed the hero's fame arose,"

sings Hagen of Siegfried.

The rehearsals during the summer of 1876 so increased the enthusiastic
devotion of the artists to the work, that many felt they had really
now only become such. Others, however, like Niemann as Siegmund, Hill
as Alberich, and Schlosser as Mime, showed already in fact what heroic
deeds in the art of representation were presented. The fetters of the
maidenly bride were indeed broken that she might live. "We have
overcome the first. We must yet consummate a true hero-deed in a short
time," Wagner said, when at the first close of the Cycle silent
emotion had given place to a perfect storm of enthusiasm, but, he
exultantly added: "If we shall carry it out as I now clearly see that
it will be done, we may well say that we have performed something
grand." The little anticipated humor in "Siegfried" developed itself
in such a way under the leadership of Hans Richter, who was more and
more inspired by the master, that one seemed indeed to hear "the
laughter of the universe in one stupendous outbreak." That was the
fruit of the "tempestuous sobbing" with which young Siegfried himself
had once listened to the Ninth symphony. It was indeed a new
soul-foundation for his nation and his time! Wagner himself calls an
enthusiasm of this kind a power that could conduct all human affairs
to certain prosperity and upon which states could be built. The
patri