Abstract
One era often dismisses the music that was most characteristic of the preceding era on the grounds of irrelevance: Handel's Italian operas were of little interest to Londoners of the late eighteenth century; Mozart's divertimenti were rarely performed in the nineteenth century; and the piano pieces of Thalberg and Tausig seem faded and naive to most listeners today. Indeed, it is often those works that are least characteristic of their time that
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