Sepultura - Cut-Throat

In turn, a visit to Mendelssohn clearly showed Wagner that, at least in the near future, he should not expect success in Berlin: from the very first meeting, both composers felt that there could be no mutual understanding, but communication with each other a burden to both. This is understandable: Mendelssohn and Wagner were, so to speak, on opposite sides of romanticism. Wagner gravitated toward heroic romanticism, a Berliozian-Listovsky plan; Mendelssohn, striving to “build” a romantic, symphony based on classical clarity and mathematical harmony, became the creator of elegiac-everyday romanticism. Wagner is an uncontrollable mountain stream with rapids and rapids, sweeping away everything in its path; Mendelssohn is a calm backwater with willow branches bent over it,reflecting in still waters the last ray of sunset or a silvery moonlit path surrounded by stars. Thus, being romantics, they, however, did not have a single point of contact. Wagner seemed too hot and impetuous for Mendelssohn, which irritated him; Mendelssohn remained in Wagner’s view too cold and dry.