ANXIETY AND RECOIL
We have already noted that as Schumann's career progressed, his activities became more public. In his case publicity seems to have acted as a restraint. His later music showed increasing mastery of technique, but also a tendency to conform to public expectations. As a hotheaded Davidsbündler and maverick journalist, he summed up his attitude toward such expectations in a quintessentially romantic aphorism: “People say, ‘It pleased,’ or ‘It did not please’; as if there were nothing higher than to please people!”18 (Imagine Mozart's reaction to this!) As a civic music director and the head of a large family, Schumann inclined toward “classicism,” as the term was then beginning to be understood.
- Citation (MLA):
- Richard Taruskin. "Chapter 6 Critics." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 28 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-006005.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 6 Critics. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 28 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-006005.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 6 Critics." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 28 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-006005.xml