Abstract
PERPETUAL recreation of itself is an attribute of genius. ^A Once a height attained, the eternal ascension toward summits yet unscaled again begins. Hence nothing is more disconcerting to the crowd than genius. Those who after much effort have gained an understanding of the work of a certain year, find themselves replunged the year following, into lack of comprehension by its new work. An instance in point was when after the tardy triumph of the Sacre du Printemps, his le Rossignol baffled Stravinsky's most ardent partisans. And, in truth, the abyss stretching between these two works is a profound one: the pieces for string quartet which succeeded even accentuated the new path which Stravinsky was following. One feels that for him the Sacre represents a point of arrival, the perfect expression of one kind of music. Yet this music does not satisfy him: he seeks to go beyond it, to penetrate into domains unknown. And of these researches his latest works have been
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