Ulvi Yurtsever wrote concerning "Germanic" composers:

>But these guys are so different...  Do you really hear a "Germanic core"
>common to all these composers? To me Mahler sounds closer to Vaughn
>Williams and Elgar than he does to Bach.

Although I don't claim any logic to this, I do hear this "Germanic core"
and greatly identify with it.  I also can't do a good job explaining what
is "common" in this music through successive time periods, but I'll try:

1.  When the music is "happy," it still possesses an "edge" and tint of
sadness or melancholy.

2.  It has an "in your face" and blustering quality which, unexpectedly,
significantly enhances its appeal.

3.  Its heroic and militaristic traits are distinctive and greatly
appealing.

4.  An all-enveloping power, even during times of restraint.

I feel fairly certain about the above, but I may not be expressing it well.
Of course, this just applies to me.  It's based on emotions, images, real
or perceived messages, and maybe some "family tree" considerations.  I
don't think we were a particularly friendly group way back in time.

Don