And with Wagner, the new period of music begins. He stands midway between the feudal and the modern worlds. In him, the old and classical period is accomplished. Indeed, so much of his music is sum, is termination, that there are times when it seems nothing else. There are times when his art appears entirely bowed over the past; the confluence of a dozen different tendencies alive during the last century and a half; the capping of the labor of a dozen great musicians; the fulfilment of the system regnant in Europe since the introduction of the principle of the equal temperament. For the last time, the old conceptions of tonality obtain in his music dramas. One feels throughout "Tristan und Isolde" the key of D-flat, throughout "Die Meistersinger" the key of C-major, throughout "Parsifal" the key of A-flat and its relative minor. Rhythms that had been used all through the classical period are worked by him into new patterns, and do service a last time. Motifs which had been utilized by others are taken by him and brought to something like an ultimate conclusion. The ending, the conclusion, the completion, are sensible throughout his art. Few musicians have had their power and method placed more directly in their hands, and benefited so hugely by the experiments of their immediate predecessors, have fallen heir to such immense musical legacies. Indeed, Wagner was never loath to acknowledge his indebtedness, and there are on record several instances when he paraphrased Walther's song to his masters, and signaled the composers who had aided him most in his development. To-day, the debt is very plain. At every turn, one sees him benefiting, and benefiting very beautifully, by the work of Beethoven. The structure of his great and characteristic works is based on the symphonic form. The development of the themes of "Tristan" and "Die Meistersinger" and "Parsifal" out of single kernels; the fine logical sequence, the expositions of the thematic material of "Parsifal" in the prelude and in Gurnamanz's narrative, and its subsequent reappearance and adventures and developments, are something like a summit of symphonic art as Beethoven made it to be understood. And his orchestra is scarcely more than the orchestra of Beethoven. He did not require the band of independent instrumental families demanded by Berlioz and realized by the modern men. He was content with the old, classical orchestra in which certain groups are strengthened and to which the harp, the English horn, the bass-tuba, the bass-clarinet have been added.