Always respectable in his forms, no one else could have made music popular among the cultured classes as could Mendelssohn. This also had its danger; for if Mendelssohn had written an opera (the lack of which was so bewailed by the Philistines), it would have taken root all over Germany, and put Wagner back many years. Handel's great achievement (besides being a fine composer) was to crush all life out of the then promising school of English music, the foundation of which had been so well laid by Purcell, Byrd, Morley, etc._ (On Mozart). _His later symphonies and operas show us the man at his best. His piano works and early operas show the effect of the "virtuoso" style, with all its empty concessions to technical display and commonplace, ear-catching melody ... He possessed a certain simple charm of expression which, in its directness, has an element of pathos lacking in the comparatively jolly light-heartedness of Haydn. Music can invariably heighten the poignancy of spoken words (which mean nothing in themselves), but words can but rarely, in fact I doubt whether they can ever, heighten the effect of musical declamation. To hear and enjoy music seems sufficient to many persons, and an investigation as to the causes of this enjoyment seems to them superfluous. And yet, unless the public comes into closer touch with the tone poet than the objective state which accepts with the ears what is intended for the spirit, which hears the sounds and is deaf to their import, unless the public can separate the physical pleasure of music from its ideal significance, our art, in my opinion, cannot stand on a sound basis. Music contains certain elements which affect the nerves of the mind and body, and thus possesses the power of direct appeal to the public--a power to a great extent denied to the other arts. This sensuous influence over the hearer is often mistaken for the aim and end of all music.... In declaring that the sensation of hearing music was pleasant to him, and that to produce that sensation was the entire mission of music, a certain English Bishop placed our art on a level with good things to eat and drink. Many colleges and universities of America consider music as a kind of boutonnière.... Low as it is, there is a possibility of building on such an estimate. Could such persons be made to recognize the existence of decidedly unpleasant music, it would be the first step toward a proper appreciation of the art and its various phases. In my opinion, Johann Sebastian Bach, one of the world's mightiest tone poets, accomplished his mission, not by means of the contrapuntal fashion of his age, but in spite of it. The laws of canon and fugue are based upon as prosaic a foundation as those of the rondo and sonata form; I find it impossible to imagine their ever having been a spur or an incentive to poetic musical speech.