Music, as in the other arts, there is nothing final. And there are few things in connection with Music which are more curious, or, indeed, so curious, as the vigour with which this self-evident fact has always been contested. What the world at any time has known of Music has ever seemed the limit beyond which nothing more was possible. Only the exceptional man has ever been able to surmise the existence of a further horizon, and he has always been accounted a more or less dangerous revolutionary. Monteverde, Rameau, Gluck, all came in for denunciation as destroyers of the fair fabric of musical art. The perfect Mozart, even, did not wholly escape reproach for what were deemed unsatisfactory innovations. Seme of Beethoven smusic earned for him the opinion that he ought to be in an asylum.
(Typographical errors above are due to OCR software and don't occur in the book.)
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