To classify these two works under one heading might at first sight appear incongruous, for apart from the fact that some dozen years separate the respective periods of their creation, the difference between them in style and objective is as that of the antipodes. The comic features and satirical purpose of the one bear absolutely no relation to the mystical and devotional tone of the other. In two respects, however, they have some points of affinity. The orchestration of both is more like that of "Tristan" than of the "Ring," and the harmonies are, to a certain extent, the adventitious corollary of intricate polyphonic voice-leading. This is, of course, particularly pronounced in "Parsifal," but it is in evidence in "Die Meistersinger" as well. Both works prove that the exceptional orchestral forces required for "Der Ring des Nibelungen" are by no means necessary to obtain sonority, richness, exhaustless variety and supreme dramatic intensity. Again, none of Wagner's dramas can rival "Die Meistersinger" in musical power, whereas "Parsifal," as the exponent of Wagner's religious views and his attitude toward Christianity, is unsurpassed for nobility of subject and dignity of treatment. With the performance of "Parsifal" at Bayreuth in 1882, Wagner ended his stupendous lifework. His death followed barely seven months later, but he had lived long enough to witness the attainment of his ambitions and ideals. VI. It is needless to enlarge upon the hostile criticism evoked by Wagner's theories, for his titanic achievements have remained unscathed in the very face of even such violent attacks as were hurled forth by Nordau and Nietzsche. Nevertheless, the present writer cannot refrain from referring to the petty antagonism Wagner had to endure as a consequence of the narrow-mindedness and non-progressive spirit of many of his most distinguished contemporaries. Even Rheinberger was not exempt from this defect, and his attitude toward Wagner must be regarded as being the more unaccountable since the memory of the Munich master is to be revered not alone for the profound knowledge, the depth of feeling, and the refinement that revealed themselves in his teaching and composition, but for the nobility of his soul and the loftiness of his purpose as well. And the close of Lobe's otherwise unprejudiced treatise on instrumentation displays a glaring inconsistency in its strictures upon Wagner's so-called overloaded orchestration. In his anxiety to decry overzealous Wagner worship, Lobe made laborious efforts to select examples that should support his adverse criticisms. This he openly acknowledges, although he admits that not all of Wagner's "Kraftbilder" are scored in so unfelicitous a manner. One of the two such illustrations cited by him embodies the episodic climax in "Lohengrin" where Elsa's ecstasy is portrayed in [Music: Fänd ich Jubelweisen]