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Updated: May 9, 2025
"Although," he says, "I went to the first performance decidedly prejudiced against the noisy Zukunftsmusik, I found that after patient study of these operas I became so susceptible of their high dramatic beauties that I lost much of my relish for the older Italian opera, which began to appear highly unnatural.
I had given J. J. Weber, the bookseller in Leipzig, the German original of the preface to publish under the title of Zukunftsmusik. This pamphlet also reached me now, and pleased me, as it probably represented the only result of my whole Paris undertaking, which looked so brilliant on the surface.
Certainly the opening seemed most attractive, and into it rushed the crowd of company promoters, followed by stock-jobbers and brokers, playing lively pieces of what the Germans call Zukunftsmusik. An unwary and confiding public, especially in Belgium and France, listened to the enchanting strains of the financial syrens, and invested largely.
This is specially in evidence in Beethoven's later work, particularly in the mass we are now considering. Wagner frequently compares it to a symphony. In Zukunftsmusik, he says: "In his Great Mass Beethoven has employed the choir and orchestra almost exactly as in the symphony;" and elsewhere he cites it as being a "strictly symphonic work of the truest Beethovenian spirit."
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