Owing to her exertions and Monsignor Mostyn's, a large audience had been collected, and though the month was September, there were many fashionable, influential and musical people present. The idea of the band, which Evelyn had thought of bringing down in the intention of giving the Forest Murmurs and the Bird Music, had been abandoned, but the finest exponent of Wagner on the piano had come to play the usual things: the closing scene of the "Walküre," the overture of the "Meistersinger" and the Prelude of "Tristan." And, mingled with the students and apostles from London, were a goodly number of young men and women from the various villas. Every degree of Wagner culture was present, from the ten-antlered stag who had seen "Parsifal" given under the eye of the master to the skipping fawns eagerly browsing upon the motives. "That is the motive of the Ride; that, dear, is the motive of the Fire; that is the motive of Slumber in the Fire, and that is the motive of Siegfried, the pure hero who will be born to save Valhalla." The class above had some knowledge of the orchestration. "You see," said a young man, pointing to the score, "here he is writing for the entire orchestra." "Three bars farther on he is writing for three violins and a flute. He withdraws his instruments in a couple of bars; it would take anyone else five-and-twenty." At a little distance the old stag who had never missed a festival at Bayreuth was telling the young lady at his side that the "Walküre" is written in the same style as the "Rheingold" and the first two acts of "Siegfried." Another distinct change of style came with the third act of "Siegfried" and the "Dusk of the Gods," which were not composed till some years later. "Ah, that wonderful later style! That scale of half-notes! Flats and sharps introduced into every bar; C, C sharp; D, D sharp; E, F, F sharp; G, G sharp; A, B flat, B, C. In that scale, or what would seem to be that scale, he balances himself like an acrobat, springing on to the desired key without preparation," and so on until the old stag was interrupted by a friend, a lady who had just recognised him. As she squeezed past, she stopped to tell him that Wagner had spoiled her for all other music. She had been to hear Beethoven's "Eroica" Symphony once more, but it had seemed to her like a pious book. Evelyn sang "Elsa's Dream," "Elizabeth's Prayer" and the "Liebestod," and when she was recalled at the end of the concert, she sang Senta's ballad as a _bonne bouche_, something that the audience had not expected, and would send her friends away more than ever pleased with her.