g of
Bavaria, and was very anxious to see him.

King Ludwig II. of Bavaria had declared, while he was still crown
prince, that as soon as he became king he would show the world how
highly he held the genius of Wagner in honor. He kept his word. One of
his first acts was to despatch Baron von Pfistenmeister to search for
Wagner, and not to return without him. He was to tell him that the king
was his most ardent admirer; that he wanted him to come at once to
Munich, to live there in comfort, at the king's expense, to complete his
Nibelung operas, and produce them forthwith. Was it a wonder that when
the Baron had left, Wagner, who was thus suddenly raised from the depth
of despair (he had even meditated suicide) to the height of happiness,
fell on Weissheimer's neck, and wept for joy.

Surely the brain of a Dumas could not have conceived a more romantic
event than this sudden transformation of one who was a fugitive from
debtor's prison into the favorite of a young and enthusiastic king. At
last Wagner had an opportunity to bring forward his music-dramas.
"Tristan and Isolde" was sung at the Munich Opera on June 10, 1865, with
an excellent cast, and Hans von Buelow as conductor. "Die Meistersinger"
followed on June 21,1868. Both these works were received with enthusiasm
by the ever-growing band of Wagner-lovers. His plan of building a
special theatre in Munich for the performance of his Nibelung operas
could not be carried out, however, even with the king's aid; for his
great influence with the king (he was rumored to be even his political
and religious adviser, though this was not true), aroused so much
hostile feeling that Wagner finally decided to have his Nibelung
festival at the old secluded town of Bayreuth.

At the suggestion of the eminent pianist, Carl Taussig, Wagner societies
were formed in the cities of Europe and America to raise funds for this
festival and give Wagner a chance to establish a tradition by showing
the world how his operas should be performed. With the aid of these and
liberal contributions by his ever-devoted king, Wagner was able, after
many trials, tribulations, and postponements, to bring out, at last, his
great Tetralogy, on August 13, 14,16, and 17, of the year 1876. It was
beyond comparison the most interesting and important event in the whole
history of music. Wagner had personally visited the opera-houses
throughout the land and selected the best singers. The audience included
the E