I just can't imagine how this was composed. The first movement of his Keyboard Concerto No. 2 was godmade.

(this is so identical with Mozart's K. 39)

>>96
Now I think it has been categorized into the group of BWV.1042-Op.111-K.626 for me. Hard to tell the exact feelings.

It's like Heinrich von Ofterdingen,
>Alle Empfindungen stiegen bis zu einer niegekannten Höhe in ihm. Er durchlebte ein unendlich buntes Leben; starb und kam wieder, liebte bis zur höchsten Leidenschaft, und war dann wieder auf ewig von seiner Geliebten getrennt.
It's like Tolkien's poems of Tom Bombadil.
>Old Tom Bombadil was a merry felow;
>bright blue his jacket was and his bloots were yellow,
>green were his girdle and his breeches all of leather;
And also, Blake and Klopstock's poems.

>>96
Haydn was a truly Dionysian composer when it comes to his keyboard/organ concertos. The Haydn-Mozart combination is in a way very much a combination of Goethe-Novalis, with its aristocratic naturalism (even Spinozaism). Beethoven was in spiritual and violent temperament.
So a simple conclusion can be drawn: The former is naturalistic/feminine and the latter spiritualistic/masculine, so the former is Dionysian and the latter Apollonian.
Thus, although Haydn-Mozart's music sounds quite naively positive, it actually corresponds to the very innocent-pure nature of Dionysus, whereas Beethoven's compositions, especially those string quartets (Op. 132 III), they were stoic, restrained, and ascetic: painfully Apollonian.
I think I really prefer Haydn's than Mozart. Since Mozartian naivety compositions can be particularly terrifying sometimes.

>>97
Haydn's Keyboard Concerto No. 2 and Bach's BWV.1042 are perhaps the greatest compositions I have ever experienced. Now the spiritual/religious heights of Beethovenian or Schubertian string quartets seem to have been smashed into pieces.
Besides that. Now I finally know why naturalism, pantheism, paganism, etc. are feminine. For philosophy, for arts, preferences for any of the antithesis, feminine and masculine, are bound to change. At the moment I think I'm obsessed with Dionysian music. And that's why I can appreciate the music of Autechre, Burzum or Biosphere, for this age. But to be very honest, It's rare to successfully find any true Apollonian musicians now.
And I think the best route to balance this antithesis have to be (Indian) improvisition. Maybe Bach was also a perfect answer.

>art - philosophy
>nature - history
>love - religion
>Mary - Christ

>>102
BWV1042 and K.39 are in the same boat as Haydn's Keyboard Concerto No. 2. The second movement of Schubert's D. 810 feels weak, fake and even somewhat amusing. Schubert's Winterreise only has literature values. The third movement of Beethoven's Op. 132 becomes irrelevant.
Yuji Takahashi's rendition of Goldberg variations were the second ever work I have experienced about the highest art after I listened many Op.111 which I thought was the first.
His intellectualistic rendition removes the elements that can easily become trivial in the Goldberg variations, infusing it with a Haydn-Mozart-like temperament that allows thought to engage with feeling. Spirit reveals itself in all its facets. Everything comes to life.
The art of blending pain with happiness is the highest art. This has been perfectly embodied in the works of Novalis, Haydn, and Mozart.
Pain and happiness are equally profound just because they are almost identical to each other. The combination of them is vitality, is life itself.