. Richard Wagner : his life and works . ral article on the opera poem and ondramatic composition in particular that he made passingmention of him. In this article he spoke of many musicians,of Mozart, Weber, Winter, Spohr, etc., and finally of Rossini,whom he gave unreserved praise, and about whom he allowed This was the official organ of Wagnerism, a monthly journal started in Jan-uary, 1878, for the propagation of the Wagnerian faith. It was edited by Walzogenunder the direction and inspiration of Wagner, who made many contributions to it,and persistently attacked in its columns the two disc
. Richard Wagner : his life and works . ral article on the opera poem and ondramatic composition in particular that he made passingmention of him. In this article he spoke of many musicians,of Mozart, Weber, Winter, Spohr, etc., and finally of Rossini,whom he gave unreserved praise, and about whom he allowed This was the official organ of Wagnerism, a monthly journal started in Jan-uary, 1878, for the propagation of the Wagnerian faith. It was edited by Walzogenunder the direction and inspiration of Wagner, who made many contributions to it,and persistently attacked in its columns the two disciples of Schumann, — Joachimand Johannes Brahms. He called the latters symphonies pitiable imitations ofBeethovens, and once, in an article on the vivisection of dogs, which interestedhim deeply, he insinuated that at his funeral he should have only Brahms GermanRequiem played. He had not this, indeed, but he had a magnificent wreath, whichthe author, forgetful of his attacks, had the good taste to send for the ceremoniesat RICHARD WAGNER. From a photograph from life taken in Vienna about 1875 (Not in French edition.) 384 RICHARD WAGNER this singular sentiment to escape him : People cried out agood deal (in Germany) against Rossini ; but as a matter offact it was less his poetry than his genius which hurt that Rossinis are rare. Yes, and Schumanns also,with all due deference to Wagner. Here is how the authorof Tristan judged the artist to whom we are indebted forParadise and Peri ; . . My successes at the royal theatre of Dresdenwere not long in attracting to me first Ferdinand Hiller,afterwards Robert Schumann ; they came to find out how,on one of the most important lyric stages of Germany, aGerman composer, hitherto unknown, could find lasting favorwith the public. The two friends at first thought they per-ceived that I offered nothing unusual in the musical line,and that therefore my success found its only excuse in thebare text of my operas. Indeed
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