Chamberlain was an admirer of Richard Wagner, and wrote several commentaries on his works including Notes sur Lohengrin (“Notes on Lohengrin”) (1892), an analysis of Wagner’s drama (1892), and a biography (1895), emphasising in particular the heroic Teutonic aspects in the composer’s works. (Google Books)
     An ardent Francophile in his youth, Chamberlain [an Englishman] had a marked preference for speaking French over English. It was only at the age of twenty-three in November 1878, when he first heard the music of Richard Wagner, that Chamberlain became not only a Wagnerite, but an ardent Germanophile and Francophobe. As he put later, it was then he realized the full “degeneracy” of the French culture that he had so admired compared to the greatness of the German culture that had produced Wagner, whom Chamberlain viewed as one of the great geniuses of all time. In the music of Wagner, Chamberlain found the mystical, life-affirming spiritual force that he had sought unsuccessfully in British and French cultures. (Wikipedia)