music. The of Act 3 was completed on 16 April 1879 and the on the 26th of the same month. The full score () was the final stage in the compositional process. It was made in ink and consisted of a fair copy of the entire opera, with all the voices and instruments properly notated according to standard practice. Wagner composed Parsifal one act at a time, completing the and of each act before beginning the Gesamtentwurf of the next act; but because the already embodied all the compositional details of the full score, the actual drafting of the was regarded by Wagner as little more than a routine task which could be done whenever he found the time. The prelude of Act 1 was scored in August 1878. The rest of the opera was scored between August 1879 and 13 January 1882. Performance history The premiere On 12 November 1880, Wagner conducted a private performance of the prelude for his patron Ludwig II of Bavaria at the Court Theatre in Munich. The premiere of the entire work was given in the Bayreuth Festspielhaus on 26 July 1882 under the baton of the Jewish-German conductor Hermann Levi. Stage designs were by Max Brückner and Paul von Joukowsky, who took their lead from Wagner himself. The Grail hall was based on the interior of Siena Cathedral which Wagner had visited in 1880, while Klingsor's magic garden was modelled on those at the Palazzo Rufolo in Ravello. In July and August 1882 sixteen performances of the work were given in Bayreuth conducted by Levi and Franz Fischer. The production boasted an orchestra of 107, a chorus of 135 and 23 soloists (with the main parts being double cast). At the last of these performances, Wagner took the baton from Levi and conducted the final scene of Act 3 from the orchestral interlude to the end. At the first performances of Parsifal, problems with the moving scenery (the ) during the transition from Scene 1 to Scene 2 in Act 1 meant that Wagner's existing orchestral interlude finished before Parsifal and Gurnemanz arrived at the Hall of the Grail. Engelbert Humperdinck, who was assisting the production, provided a few extra bars of music to cover this gap. In subsequent years this problem was solved and Humperdinck's additions were not used. Ban outside Bayreuth For the first twenty years of its existence, the only