Wagner had his idea of what opera should be and nothing short of his ideal interested him. He kept to his purpose and accomplished miraculous things whether he suffered or starved or was banished from his country. Richard was born at a time, favorable for hearing and knowing the Viennese composers of the 18th and early 19th centuries, who had increased the importance of the orchestra. He could hear too the music of Schumann and Schubert, with all the new beauty and warm feeling they radiated. This new depth appeared not only in the orchestra but also in piano and vocal music. In Wagner’s time, people felt deeply about everything,—science, philosophy, literature, and especially politics; and many were the quarrels and discontents among nations. Even our own country was torn by a cruel war. Wagner listened to the works of Mozart and of Beethoven, whom he admired immensely. He approved of Beethoven’s use of the chorus in the _Ninth Symphony_, which had no little effect on his work and ideals. Among the people who most influenced Wagner was Gluck, who first fought for sincerity and truth in opera drama. Gluck did not have the advantage of the grown up orchestra and freer forms, yet Gluck did so much to free opera that Wagner was fortunate indeed to have come after him. Another great influence was Weber, who mixed everyday story in a delightful play of fancy and picturesqueness. Wagner, after hearing Weber’s _Die Freischütz_, was very much impressed. Meyerbeer, a contemporary, although rather artificial and always working for effects, nevertheless showed Wagner the value of gorgeous scenic productions. Wagner was fond of the stage, and Meyerbeer’s big scenes sank into the mind of the young composer-poet, who liked to be called a poet rather than a musician! Musically, Franz Liszt was probably the greatest influence in Wagner’s life and we often hear in Wagner’s works bits of melody which remind us of Liszt. It is not fair to say that he was great just because he followed Gluck, Weber, and Mozart, for he brought music out of its old ruts and was copied by hundreds of composers. The hero of this chapter was born in Leipsic in 1813 and was the youngest of nine children. His father died shortly after his birth and his mother married an actor playwright named Geyer and they all went to live in Dresden. His stepfather felt that Richard had musical gifts and he proved a very kind and wise parent. He died when the boy was only eight. Richard must have been a most interesting little chap, for he always did everything with what we would call “pep” and persistence. He loved poetry and was devoted to the theatre. His stepfather had always allowed him to go “back stage” at the playhouse, so the youth became familiar with stage craft, which he used later in producing his music dramas.