We are still in the Romantic period. This has merely been a minor interruption due to some confusion regarding what exactly happened that Good Friday on Monsalvat. The issue is being resolved. Thank you for your patience.
UPDATE (4 – 26 – 20): By applying a Romantic cipher to some drafts of the finale from Mahler’s unfinished Tenth, an encrypted message has divulged itself. It is in German, Yiddish and English oddly enough, as if I were meant to find it …
“Gehen Sie zurück zu Monsalvat, gehen Sie zurück zu Karfreitag”
“גיין זיי צוריק צו מאָנסאַלוואַט, גיין זיי צוריק צו קארפרייטאָג”
“Go back to Monsalvat, go back to Good Friday ”
This could have been intended for Schoenberg, Webern and other members of the Second Viennese School who were hastily applying their progenitor’s deconstruction not for resolution, but for convolution. Their carelessness was exemplified at the Skandalkonzert which was disrupted by the brawl before Kindertotenlieder (Songs on the Deaths of Children) could be performed and provide some kind of catharsis.
Sources tell me Gavrilo Princip was in attendance and was very wound up by their modernism whereupon the Black Hand (aka Unification or Death), a secret society established by Serbian army officers, was able to set him up as a patsy in the assassination of Archduke Ferdinand and Sophie, Duchess of Hohenberg. In Diesem Wetter would have surely relieved that young man, but thanks to Buschbeck‘s incontinence, not three but four experimental works were programmed!
Mahler evidently foresaw this but he succumbed to the Curse of the Ninth before he could warn the Second Viennese School about the objective interpretation of Parsifal.