massive architecture of Beethoven's. He not only elaborated the forms,
but varied the rhythms, broadened the melody, and deepened the
expression of orchestral music. In his works, too, are to be found the
germs of romanticism, which others, notably Mendelssohn and Schumann,
developed so fascinatingly in their best works. Most of Mendelssohn's
compositions have had their day; but Schumann is still a force in modern
music and will long remain so.

Brahms, the musical Browning, is, musically speaking, a son of Schumann
and a grandson of Beethoven. While even Brahms did not escape the
influence of Wagner, nor that of the romanticists Schubert and Chopin,
still, in his essence, he represents reaction against modern romanticism
and an atavistic return to the spirit of Beethoven. He has been, for
decades, the idol of Wagner's enemies; yet, in truth, there was no
occasion for opposing these two men, since they worked in entirely
different fields. Brahms wrote no operas, while Wagner wrote little but
operas. The real antagonist of Brahms is Liszt, who also worked only for
the concert hall and who represents poetic or pictorial music (programme
music), while Brahms stands for absolute music, or music _per se_,
without any poetic affiliations.

While Schubert in his youth also came under the influence of his great
contemporary, Beethoven, he soon emancipated himself completely from
him, even in the symphony, in which, as Schumann pointed out, he opened
up "an entirely new world" of melody, color, and emotion. His
orchestration is more varied, euphonious, and enchanting than
Beethoven's, and in this direction he did for the symphony what Weber
did for the opera. By using the brass instruments pianissimo, for color
instead of for loudness, he opened a path in which later masters,
including Wagner, eagerly followed him. Schubert was also the first