This was the first performance of “Parsifal” outside of Bayreuth, and it made a sensation but also aroused quite a controversy in the newspapers as to its fitness for the concert room. Good and weighty arguments can be produced on both sides. At a performance in concert a great deal is lost to many people, especially to those whose imagination cannot function without the stimulus of scenery, costumes, and dramatic action; but at that time this was the only opportunity for American music lovers, who could not make the long trip to Bayreuth, to become acquainted with the music. To many listeners the choral portions, especially those centring in the religious ceremonies in the Hall of the Holy Grail, were just as impressive, if not more so, than in a scenic representation. To-day, and generally speaking, I would rather hear the music from “Parsifal” with my eyes closed. My imagination, stimulated by the music, can paint the scenic and dramatic investiture far more idealistically than any actual stage representation, but I do not claim this as a truth for all, but only as my individual preference. We gave two concert performances at the Metropolitan Opera House (public rehearsal and concert), and over three thousand people listened with rapt attention at each rendition. Years after, in 1903, when the then director of opera at the Metropolitan, Heinrich Conried, announced his intention of giving a stage performance of “Parsifal,” I received a letter from Madame Cosima Wagner, saying that she had heard that I possessed the score and orchestral parts of the work. She begged me not to give them to Mr. Conried, as the _meister_ had left absolute directions in his will that stage representations of this work were to be reserved for all time for Bayreuth. She had heard that I had given a concert performance and wondered how I had gotten permission. I wrote to her and explained now I had obtained the score and had sent the “fifty pounds fine” to the publishers, according to my agreement with them. I then received another letter from her, as follows: DEAR MR. DAMROSCH: Thank you very much for your kind lines and the expression of your feelings for Parsifal, which, of course, is never to be given out of Bayreuth; but concerning the production at concert, there has been made a very limited choice of fragments, which is not to be extended. The choice, done by the master, is as follows: 1. Prelude, close of the first act,—nothing of the second. 2. Verwandlungsmusik—close of the third act. 3. Amfortasklage 4. Charfreitagszauber I am astonished that for £50 you got the allowance (permission) to execute the whole Parsifal in concert and I will ask the publisher (about it). Concerning the performance on the stage, I still hope that the cultivated part of the public at New York won’t agree to it. Receive, dear Mr. Damrosch, with my best thanks, my kindest regards.