and the whole of “The Valkyrie;” and then, as he says himself, wishing to keep up his active connection with the stage, he interrupted the progress of the main scheme, and wrote “Tristan and Isolde,” which occupied him from 1856 to 1859.  During its composition, however, he did not entirely forsake the trilogy.  In the autumn of 1856 he began “Siegfried,” the composition of which was not finished until 1869, owing to many other objects which engaged his attention during this period, one of which was the composition of “The Mastersingers,” which he wrote at intervals between 1861 and 1867.  From the latter year until 1876, when the trilogy was produced at Baireuth, he gave himself wholly to the work of completing it and preparing it for the stage.

Prior to the production of the completed work, separate parts of it were given, though Wagner strongly opposed it.  “The Rhinegold,” or introduction, came to a public dress-rehearsal at Munich Aug. 25, 1869, and “The Valkyrie” was performed in a similar manner in the same city, June 24, 1870, with the following cast:—­

WOTAN        Herr KINDERMANN. 
SIEGMUND     Herr VOGL. 
HUNDING      Herr BAUSERWEIN. 
BRUENNHILDE   Frl.  STEHLE. 
SIEGLINDE    Frau VOGL. 
FRICKA       Frl.  KAUFFMANN.

The “Siegfried” and “Goetterdaemmerung,” however, were not given until the entire work was performed in 1876.  Upon the completion of his colossal task Wagner began to look about him for the locality, theatre, artists, and materials suitable for a successful representation.  In the circular which he issued, narrating the circumstances which led up to the building of the Baireuth opera-house, he says:  “As early as the spring of 1871 I had, quietly and unnoticed, had my eye upon Baireuth, the place I had chosen for my purpose.  The idea of using the Margravian Opera-House was abandoned so soon as I saw its interior construction.  But yet the peculiar character of that kindly town and its site so answered my requirements, that during the wintry latter part of the autumn of the same year I repeated my visit,—­this time, however, to treat with the city authorities....  An unsurpassably beautiful and eligible plot of ground at no great distance from the town was given me on which to erect the proposed theatre.  Having come to an understanding as to its erection with a man of approved inventive genius, and of rare experience in the interior arrangement of theatres, we could then intrust to an architect of equal acquaintance with theatrical building the further planning and the erection of the provisional structure.  And despite the great difficulties which attended the arrangements for putting under way so unusual an undertaking, we made such progress that the laying of the corner-stone could be announced to our patrons and friends for May 22, 1872.”  The ceremony took place as announced, and was made still further memorable by a magnificent performance of Beethoven’s Ninth or Choral Symphony, the chorus of which, set to Schiller’s “Ode to Joy,” was sung by hundreds of lusty German throats.  In addition to the other contents of the stone, Wagner deposited the following mystic verse of his own: