>All this music of romanticism, moreover, was not noble enough to remain valid anywhere except in the theater and before crowds; it was from the start second-rate music that was not considered seriously by genuine musicians.

>It was different with Felix Mendelssohn, that halcyon master who, on account of his lighter, purer, more enchanted soul, was honored quickly and just as quickly forgotten: as the beautiful intermezzo of German music. But as for Robert Schumann, who was very serious and also was taken seriously from the start - he was the last to found a school - is it not considered a good fortune among us today, a relief, a liberation, that this Schumann romanticism has been overcome?

>Schumann with his taste which was basically a *small* taste (namely, a dangerous propensity, doubly dangerous among Germans, for quiet lyricism and sottishness of felling), constantly walking off to withdraw shyly and retire, a noble tender-heart who wallowed in all sorts of anonymous bliss and woe, a kind of girl and noli me tangere from the start: this Schumann was already a merely *German* event in music, no longer a European one, as Beethoven was and, to a still greater extent, Mozart. With him German music was threatened by its greatest danger: losing the voice for the soul Europe* and descending to mere fatherlandishness.

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Mozart editionhttps://youtu.be/BCOKeBshEsoThis thread is for the discussion of music in the Western classical tradition, as well as classical…

Mozart edition
https://youtu.be/BCOKeBshEso
This thread is for the discussion of music in the Western classical tradition, as well as classical…