Against these may be placed the well-known opinion of Schumann which appeared in the _Neue Zeitschrift für Musik_ in 1853. It is needless to repeat all that Schumann said. How he found in Brahms’s works a likeness to “some onward foaming flood, bearing on the surface of its waves as they dashed downward, the peaceful rainbow, and surrounded on the bank by butterflies and nightingales’ voices. When this composer sinks his magic wand to where the powers of the masses in the orchestra and chorus lend him their strength, we shall find still more wonderful glances into the secret of the spirit-world in store for us.” Such words from one of the standing of Robert Schumann, poetically expressed though they be, may not be passed idly by. [Sidenote: =W.J. Henderson=] To this may be added the view of another competent and thoughtful writer.[29] “Brahms’s compositions show a completeness of architectonic detail, superimposed upon a symmetrical and inevitable organic development, such as are to be found in those of no other symphonist except Beethoven.... Some day, I think, if not soon, the world will see how profoundly representative of his nation and his time Brahms was, and he will be hailed, as Milton was, an organ voice of his country.... It may take time for the entire musical world to come under the spell of this austere utterance; but Brahms had the happiness of knowing ere he died that, wherever music was cultivated, his individuality at least had made itself known.” [Footnote 29: W.J. Henderson, _How Music Developed_.] [Sidenote: =Philip Spitta=] In his _Essay on Brahms_ (Paetel, Berlin), the well-known author of the monumental life of John Sebastian Bach, Philip Spitta, says:—“The leading characteristics of Brahms’s music are all plainly visible in his first ten works. A manliness that is almost brusque, a dislike for purely emotional music, stern conciseness in the melodic matter, a delight in organic structure, particularly by the use of strict polyphony, all combining with the freer style of Beethoven to produce entirely new results. The serious underlying feeling, a sense of depth, and a shrouded exquisite beauty of sentiment under a dignified reserve.... Such a complete comprehension of all the forms and means of musical expression as we find in Brahms, and the way to apply them in the forms of composition he affected, is really stupendous, and in its way quite unprecedented.” [Sidenote: =Sir Hubert Parry=] Speaking of the modern tendencies in music, Sir Hubert Parry[30] says:—“And even in the highest branches of art, represented by the noble symphonies of Brahms, which illustrate the loftiest standard of style of the day, the significant change from the old ideals is noticeable. For the aim is but rarely after what is equivalent to external beauty in music. What beauty is aimed at is beauty of thought, the beauty of nobleness, and high musical intelligence.” [Footnote 30: _The Art of Music_, p. 333.] [Sidenote: =W.H. Hadow=]