conceived on a larger and bolder scale, and in which the limits
of his gifts become apparent are now carefully brought forward.
[Footnote: Such as the Overtures to Faust, Die Braut von Messina,
Julius Caesar; the "Balladen," Das Gluck von Edenhall, Des Sanger
Fluch, Vom Pagen und der Konigstochter, etc.] The public does not
exactly like these works, but their performance offers an
opportunity to point out how commendable a thing it is to "make
no effect." Finally, a comparison with the works of Beethoven in
his third period (played as they play them) comes in opportunely.

Certain later, inflated (schwulstig) and dull productions of R.
Schumann, which simply require to be played smoothly (glatt
herunter gespielt) are confounded with Beethoven; and an attempt
is made to show that they agree in spirit with the rarest,
boldest and most profound achievements of German music! Thus
Schumann's shallow bombast is made to pass for the equivalent of
the inexpressible purport of Beethoven--but always with the
reservation that strenuous eccentricity such as Beethoven's is
hardly admissible; whereas, vapid emptiness (das gleichgiltig
Nichtssagende) is right and proper: a point at which Schumann
properly played, and Beethoven improperly rendered, are perhaps
comparable without much fear of misunderstanding! Thus these
singular defenders of musical chastity stand towards our great
classical music in the position of eunuchs in the Grand-Turk's
Harem; and by the same token German Philistinism is ready to
entrust them with the care of music in the family--since it is
plain that anything ambiguous is not likely to proceed from that
quarter.

BUT NOW WHAT BECOMES OF OUR GREAT AND GLORIOUS GERMAN MUSIC? It