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Hearing it after Tschaikovsky's charming, but weak, setting of Eugen Onegin, the forthright and characteristic qualities of Moussorgsky are set in higher relief. All the old rhetoric goes by the board, and sentiment, in our sense of the word, is not drawn upon too heavily. Stravinsky is a new man not to be slighted, nor are Kodaly and Bartok.
And as the years pass, the man's stature and mind become more immense, more prodigious. One has but to hearken to the accent of the greater part of modern music to gauge in whose shadow we are all living, how far the impulse coming from him has carried. The whole living musical world, from Debussy to Bloch, from Strawinsky to Bartok, has been vivified by him.
Then I was running back toward the engines. I caught up with Wilcox just before he went into his own quarters. "Wilcox!" He swung around casually, saw it was me, and motioned inside. "How about some Bartok, Paul? Or would you rather soothe your nerves with some first-rate Buxtehude organ...." "Damn the music," I told him.
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