grew
discouraged over these petty trials, and for five years creative work
was at a standstill.

How to meet daily necessities was the all absorbing question. A
kind friend, who greatly admired his music, Otto Wesendonck, made it
possible for him to rent, at a low price, a pretty chalet near Lake
Zurich, and there he and Minna lived in retirement, and here he wrote
many articles explaining his theories.

During the early years at Zurich Wagner's only musical activity was
conducting a few orchestral concerts. Then, one day, he took out the
score of his "Lohengrin," and read it, something he rarely did with
any of his works. Seized with a deep desire to have this opera brought
out, he sent a pleading letter to Liszt, begging him to produce the
work. Liszt faithfully accomplished this task at Weimar, where he was
conducting the Court Opera. The date chosen was Goethe's birthday,
August 28, and the year 1850. Wagner was most anxious to be present,
but the risk of arrest prevented him from venturing on German soil.
It was not till 1861, in Vienna, that the composer heard this the most
popular of all his operas. Liszt was profoundly moved by the beautiful
work, and wrote his enthusiasm to the composer.

Wagner now took up his plan of the Nibelung Trilogy, that is the three
operas and a prologue. Early in 1853 the poem in its new form was
complete, and in February he sent a copy to Liszt, who answered: "You
are truly a wonderful man, and your Nibelung poem is surely the most
incredible thing you have ever done!"

So Wagner was impelled by the inner flame of creative fire, to work
incessantly on the music of the great epic he had planned. And work he
must, in spite of grinding poverty and ill health. It was indeed to be
the "Music of the Future."

After a brief visit to London, to conduct some concerts for the London
Philharmonic, Wagner was back again in Zurich, hard at work on the
"Walkuere," the first opera of the three, as the "Rheingold" was
considered the introduction. By April 1856, the whole opera was
finished and sent to Liszt for his opinion. Liszt and his great
friend, Countess Wittgenstein, studied out the work together, and both
wrote glowing letters to the composer of the deep effect his music
made upon them.

And now came a halt in the composition of these tremendous music
dramas. Wagner realized that to produce such great works, a special
theater should be built, of adaptable design. But from where would