hand, notably those to Uhlig, are invaluable to every one who wishes
to understand Wagner. Extensive use is made of them in this book,
though, as they are easily accessible, I have forborne to quote more
than is absolutely necessary. _My Life_ I think but little of, and
have not relied greatly on it.

Wagner the reformer will receive no lengthy consideration. He did not
"reform" the opera form--the opera form of Mozart and Weber needed no
reforming--he simply developed it. He did reform operatic performances
by insisting on precision and intelligence in place of slovenliness
and stupidity, on enthusiasm for art in place of stolid indifference;
and he did as much in the concert-room. I shall not theorize about
these matters, but point out what he achieved by making a continuous
appeal to indubitable, indisputable facts.

I am indebted to Messrs. H. Grevel & Co. for kind permission to print
extracts from Mr. Shedlock's translation of Wagner's _Letters_, and to
Messrs. Novello for similar permission regarding quotations from the
libretti of the operas. Two words may be said about the quotations,
both words and music, of the operas: in some cases, when I could
neither find nor make an adequate translation of verses, I have stuck
to the original German; with regard to the music, I have given as
little as possible. Both musical and verbal citations are meant for
reference--there is only one exception, the Sailors' Song from the
opening of _Tristan_. Catalogues of Wagner's themes have for long been
issued by several publishers; but they are of small assistance in
helping one to understand Wagner.

J.F.R.