Abstract
HE MUSIC of the mid-twentieth century will be evaluated by future generations. Pierre Monteux, the dean of today's orchestra conductors and the protagonist in the controversy stirred by the early Stravinsky, recently had something to say about the music of the mid-twentieth century, and it was not particularly complimentary. He indicated, in effect, that composers were composing to impress other composers rather than for public consumption. We will not debate the point. Let it suffice to be said that the music of our time is with us, and if it is different from that of
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