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Updated: June 16, 2025
People who hear painting, see music, enjoy odorous poems, taste symphonies, and write perfumes are now classed by the omnipotent psychical police as decadents, though such notions are as old as literature.
This is harmony; this is expressed in my symphonies; the blending of manifold forms rolls on to the goal in a single channel.
His orchestration is distinguished by its clarity, power and exquisite coloring. The orchestral music of Tschaikowsky, who died in 1893, symphonies and symphonic poems, are saturated with the glowing Russian spirit, are intensely dramatic, sometimes rising to tempestuous bursts of passion that are only held in check by the composer's scholarly control of his materials.
It was now Beethoven's music that I longed to know more thoroughly; I came to Leipzig, and found his music to Egmont on the piano at my sister Louisa's. After that I tried to get hold of his sonatas. At last, at a concert at the Gewandthaus, I heard one of the master's symphonies for the first time; it was the Symphony in A major. The effect on me was indescribable.
Some of these compositions which now lie before me, with their repetitions of lines, half-lines, and half-words, their fugues and their intermediate symphonies, are good singing still, though they would hardly be admitted into such hymn-books as are popular in the churches of fashionable society at the present time. August 1896.
In the Fourth he sought to open the heart of a child; in the Sixth, to voice his desolation and loneliness and hopelessness; in the Eighth, to perform a great religious ceremony; in "Das Lied von der Erde" to write his "Tempest," his epilogue. And in general plan, his symphonies are original enough. Mahler was completely emancipated of all the old prejudices concerning the nature of the symphony.
There is an affinity between them in which mind speaks to mind. Bach's wonder-work became his Bible; in it he read, and clean forgot that world of clangor heard no longer." This describes Wagner's own spiritual relationship to Beethoven, and the exaltation that must have been his on reading the symphonies, the Mass in D, the overtures. He exhausts himself in praise of each.
His symphonies abound in senseless repetitions, in all sorts of eye-music. And in the Eighth Symphony, the apotheosis of his reliance on the physical, he calls for a chorus of a thousand men, women and children, and at the end, I believe, the descent of the Holy Ghost. But the ultimate effect is exactly the reverse of what Mahler planned.
Amid all his ludicrous defeats and disillusions, this poetical side of him is brought to our notice at intervals, just as a certain theme recurs again and again in one of Beethoven's symphonies, a kind of clue to guide us through those intricacies of harmony.
There are more vigor and originality in one of Schubert's greater symphonies than in all the multitudinous works of the same class ever written by Spohr. In Spohr's compositions for the violin as a solo instrument, however, he stands unrivaled, for here his true genre as a man of creative genius stamps itself unmistakably.
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