One would have said that this little
barbarian was put there for a wager. His articles from 1884 to 1887 are
full of life and humour. He upholds the great classic masters in them:
Gluck, Mozart, Beethoven, and--Wagner; he defends Berlioz; he scourges
the modern Italians, whose success at Vienna was simply scandalous; he
breaks lances for Bruckner, and begins a bold campaign against Brahms.
It was not that he disliked or had any prejudice against Brahms; he took
a delight in some of his works, especially his chamber music, but he
found fault with his symphonies and was shocked by the carelessness of
the declamation in his _Lieder_ and, in general, could not bear his want
of originality and power, and found him lacking in joy and fulness of
life. Above all, he struck at him as being the head of a party that was
spitefully opposed to Wagner and Bruckner and all innovators. For all
that was retrograde in music in Vienna, and all that was the enemy of
liberty and progress in art and criticism, was giving Brahms its
detestable support by gathering itself about him and spreading his fame
abroad; and though Brahms was really far above his party as an artist
and a man, he had not the courage to break away from it.
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