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The chief incidents in the piece arise from the humours of a vivacious baroness, who disguises herself as a servant in order to make the acquaintance of her fiancé, unknown to him. The music of 'Der Wildschütz' is no less bright and unpretentious than that of 'Czar und Zimmermann'; in fact, these two works may be taken as good specimens of Lortzing's engaging talent.
Of the numerous criticisms of well-known composers contained in this correspondence, a few more may be cited. They are mostly favorable in tone, but concerning the "Prophète" he writes: "The music appears to me very poor; I cannot find words to express my aversion to it." "Lortzing's operas meet with success to me almost incomprehensible." To Carl Reinecke he writes that he is "no friend of song-transcriptions (for piano), and of Liszt's some are a real abomination to me." He commends Reinecke's efforts in this direction because they are free from pepper and sauce
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