Winter 1943 • Vol. V No. 1 NonfictionJanuary 1, 1943 |

The Composer in Search of Freedom and Progress¹

A Mozart symphony, coming to us over the radio, might be performed in London or in Leningrad, in Rome, Berlin or in New York. Concert programs are basically alike throughout the civilized world. There is a standard repertoire played by every orchestra in existence, carried by every network, reproduced on records no matter where they are made. Music strikes us as being the least restricted, the most international of all the arts. The most casual glance at musical history will show us that our impression is correct. Music, as we know it, is the product of continuous collaboration between all Western nations throughout the better part of a millennium. There is a common foundation resting on the twin pillars of Gregorian chant and the theoretical concepts of the Greeks. There is a common development arriving at a universally accepted technique. There are common standards, values and ideals which should make it impossible to think of music in terms of nationalism. Palestrina was an

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