ual level than the music of other nations and contained the individuality of the composer was not new. Charles Burney wrote in the 1780's of nationalistic qualities in music, years before anyone thought of music as expression of national qualities. However, by the second quarter of the nineteenth century, composers gradually began to ask if musicians in other countries could really understand German music. In other words, the supposed intellectual loftiness of German music may be difficult for other nations to perform properly and with the correct German spirit. Wagner noted this after performances of Beethoven symphonies by the Conservatoire Concerts Society Orchestra during his first stay in Paris. He was impressed by the performances, but felt that there were deeper questions that needed to be asked. The French had performed these pieces accurately but with injustice to the text of the music. He was surprised by the French performances of Beethoven's strong German spirit:"They love to admire and applaud things beautiful and unknown from abroad. As to witness the reception that has been so quickly accorded to German instrumental music. Though, apart from this, whether one could say that the French completely understand German music is another question, the answer to which must be doubtful. Certainly it would be wrong to maintain that the enthusiasm evoked by the Conservatoire orchestra's performance of a Beethoven Symphony is affected. Yet when one listens to this or that enthusiast airing the various opinions, ideas, and conceits which a symphony has suggested to him, one realizes at once that the German genius is far from being completely grasped."It is likely that examples of this same type of incomprehension could be found equally as many times by German listeners at German performances of German works. It is interesting to note that Wagner wrote uncomprehendingly of Haydn's symphonies. Schumann and other contemporar...
