I think Stonebraker may be correct in a longer term context, as I too perceive a slow drift towards the Romantic Movement. Someone earlier suggested that Baroque and Classical are becoming more important, but I'm not sure that's right. I think there is little doubt that Romantic Movement music is already the most important genre (in terms of overall popularity) and I think it's getting stronger. For this purpose I include Beethoven and Schubert in the Romantic school.Stonebraker wrote:I disagree. I think with a better educated public, the popularity would seem to reverse. To me, the most accesible music is that of the romantic era. Moreso than the composers of the Baroque and Classical eras, these people spoke through their music about whta it is like to be a human being; the frustrations, the incredible joy, the fears we all hold. So if we're talking about the public popularity of the "holy trinity", I think it could easily be destroyed if the public cared to know the music of Brahms or Gustav Mahler.Brahms wrote: It would be astonishing if any composer (including Brahms) could approach the "popularity" of the Holy Trinity. No composer, no matter how great, will ever pierce that barrier.
If we're talking about innovators, well then I don't see how anyone can pierce the "holy trinity". But innovation doesn't equal greatness, at least to me. There's whole sections of music from each of those composers that aren't orchestrated well. Each of those composers had lots of very boring music (to me).
As usual I disgress, but I think the music of Brahms and Mahler and Tchikovsky is more relevant today than at any point in history, and if only the public cared to know, their music would eclipse the popularity of the "holy trinity".
I get a feeling that the popularity of Mozart and Haydn especially have already peaked. I'm not too sure about Baroque but I wouldn't be surprised if that too is past its prime.
The Romantic school undoubtedly offers lusher and richer pastures compared with the music of earlier periods, and I sense that younger people prefer this "romantic" more emotional feel, whether it is programme or absolute in form. I can see the day when the top trilogy could well be Beethoven, Schubert and Brahms. Personally, I'd be quite happy with that outcome, provided Schumann wasn't left too far out of it, although I suspect on a world ranking he is a few notches down (I accept in Germany this is not the case).
I'm doubtful about the 20th C. I think there could be a long time gap before people in general make up their mind about much of this. Somehow I feel that the 19th C will endure as the Golden Age of classical music for a long long while. Again, I stress that I am talking about the general thrust of public opinion, and I'm not seeking to debate the greatness of any individual 18th or 20th century favourites of other people.