hey give is
in a great measure intellectual. We admire the composer's skilful
musical processes. Hence he is admired by professional musicians. And I
remark, in passing, that professional criticism in any art, although it
has a certain value, has not valid, determining power, and is not very
trustworthy as a guide. It too generally runs on methods, processes,
technicalities. If you would learn to paint, listen to the criticisms
of a well instructed, capable painter; but if you would know and feel
the highest things in art, remain an amateur and study nature and
Raphael and Titian and Tintoretto.

[7] No. 6, Breitkopf and Haertel.

As to the other composers who were Schumann's contemporaries, they
wrote in a condition of hopeless incapacity, except as to their
acquired mastery of their craft. They are ever uncertain themselves
what they would be at. Compare them with the real composers. Those men
knew they had something to do, and they did it. They felt that they had
something to say, and they said it. These are always about doing
something; they are ever entangled in some complicated toil of sound,
out of which they cannot find their way; they are hanging by the very
eyelids upon some discord that they are afraid to resolve; they are
always sounding a note of preparation, announcing that they are about
to do something, which they never do. Their music is written in the
paulo-post-future tense.

Under such circumstances it is not surprising that music, ceasing to be
merely beautiful and emotional, has, in its decay, sprouted a fungus
and monstrous intellectuality. Wagner's musical figures have become as
intricate, and often as ugly, as those of a Chinese puzzle; and the
entertainment is to see how they fit each other and the words to which
they are adapted. In his orchestral work we have the most masterly
instrumental coloring; a knowledge and an elaboration which is
unsurpassed, and also uninspired. It is great technical work, and no
wonder that professional musicians admire it. But what is its real
value? Take, for example, the finale to the overture to the
"Meistersinger." It is very impressive materially, and as a work of
instrumental art. It becomes tremendous from mere muscular activity and
accumulation of physical force. The violins rush frantically up and
down the finger-board; the violoncellos are ready to jump over their
bridges; the trumpets blow blood out of their eyes; and there is
general frenzy.