Once or twice I have had occasion to mention the German composer August Bungert (1845-1915), although the occasion has never been a pressing one. Browsing on YouTube, I see that someone has had the temerity to upload Bungert’s Mysterium, an hour-and-a-half-long oratorio based on the trials of Job, subdivided into sections titled “Warum?”,”Woher?,” and “Wohin?” The performance took place in the Petrikirche in Rostock, in 2008. I am reminded of the fact that Nietzsche, having met Bungert in 1883 (just after the death of Wagner), briefly became convinced that he had discovered a great talent, the post-Wagnerian composer he had been seeking. Heinrich Köselitz, Nietzsche’s close friend, wrote back impatiently that “there are at least two dozen composers like him in Germany,” whereupon Nietzsche dropped the matter: “Naturally, you are right, and I am an ignoramus in musical matters.” Listening to the Mysterium, I do not think that Köselitz was far wrong, although the work has its moments.