argues, he had come to the conclusion that purely instrumental
music had reached a point beyond which it could not go alone, wherefore
he called in the aid of poetry (sung by soloists and chorus), and thus
intimated that the art-work of the future was the musical drama,--a
combination of poetry and music.

This is a purely fantastic notion on Wagner's part. There is no evidence
that Beethoven had any such purpose; he merely called in the aid of the
human voice to secure variety of sound and expression. Poetry and music
had been combined centuries before Beethoven in the opera and in
lyric song.

No, the roots of Wagner's music-dramas are not to be found in Beethoven,
but in Weber. His "Freischuetz" and "Euryanthe" are the prototypes of
Wagner's operas. The "Freischuetz" is the first masterwork, as Wagner's
operas are the last, up to date, of the romantic school; and it embodies
admirably two of the principal characteristics of that school: one, a
delight in the demoniac, the supernatural--what the Germans call
_gruseln_; the other, the use of certain instruments, alone or in
combination, for the sake of securing peculiar emotional effects. In
both these respects Wagner followed in Weber's footsteps. With the
exception of "Rienzi" and "Die Meistersinger," all of his operas, from
the "Flying Dutchman" to "Parsifal," embody supernatural, mythical,
romantic elements; and in the use of novel tone colors for special
emotional effects he opened a new wonder-world of sound, to which Weber,
however, had given him the key.

"Lohengrin," the last one of what are usually called Wagner's "operas,"
as distinguished from his "music-dramas" (comprising the last seven of
his works), betrays very strongly the influence of Weber's other
masterwork, "Euryanthe." This opera, indeed, may also be called the
direct precursor of Wagner's music-dramas. It contains eight "leading
motives," which recur thirty times in course of the opera; and the
dramatic recitatives are sometimes quite in the "Wagnerian" manner. But
the most remarkable thing is that Weber uses language which practically
sums up Wagner's idea of the music-drama. "'Euryanthe,'" he says, "is a
purely dramatic work, which depends for its success solely on the
co-operation of the united sister-arts, and is certain to lose its
effect if deprived of their assistance."

When Wagner wrote his essay on "The Music of the Future" for the
Parisians (1860) he remembered his obligations to