If we wish to find the cause or causes which brought about the change amongst the masses, from absolute indifference to orchestral music to the present enthusiasm for it, I think we may begin by noting the gradual growth of an appreciation of the music of Wagner, especially among those whose means had enabled them to attend presentations of his works in Germany. It was, I think, to a number of these fortunate individuals, aided by the enthusiastic Schultz-Curtius, that we owe the appearance of Wagner and the memorable Wagner Festival at the Royal Albert Hall, which he, in conjunction with Herr Richter, conducted in the year 1877. The enthusiasm aroused by the marvellous music and the revelation of the wonderful powers of Richter as a conductor, soon led to the establishment of the Richter Concerts, and we may, I believe, regard this as an epoch, as the birth of the new spirit that was so speedily to alter the whole aspect of things musical in this country. Not only the enthralling fascination of the music, but the striking personality of the conductor, who seemed to inspire the orchestra with his own genius, cast such a spell over the audiences and aroused such frantic enthusiasm, that no one who attended the early concerts can ever forget the sensations they inspired. The success achieved in London naturally resulted in a call to the great provincial cities, and thus Richter had the gratification not only of doing great service to his idolised master, but also to England, that had so quickly learnt to appreciate him. If anyone could doubt the extraordinary fascination that Wagner's music wields over the masses, a single visit to a Promenade Concert on a Wagner night should easily dispel it. For over forty years the Philharmonic Society stood practically alone in any serious efforts on behalf of orchestral music. Eventually, however, another champion entered the lists, and valiantly did he bear himself. This was no other than the late Herr August (afterwards Sir August) Manns, who in 1855 was appointed director of the music at the Crystal Palace. To appreciate the difficulties he had to encounter, one must know that when he appeared on the scene, he found a wretched brass band installed there; no concert room, no proper platform for the performers, and the music, such as it was, had to be played to the accompaniment of popping corks, shrieking engines, and all the multitudinous noises one can imagine in such a vast place of entertainment. However, he was no ordinary man.[26] He was energetic, determined, and courageous, and whilst being generally genial and even persuasive in manner, he was also undoubtedly of a somewhat combative nature. This was shown some years later when he took exception to a criticism of Mr. Bernard Shaw, and drew from him a characteristic letter in which musical critics are described as divided into "two sorts, musicians who are no writers, and writers who are no musicians," and classes himself among the latter.