. . . our great classical
masters . . . thought they
had to state, restate, and corroborate in order to be understood, in order
to be clear. This poses a basic problem of relationship between composer
and audience: how intelligent and receptive does the composer suppose his
audience to be? . . . it seems that a creative artist
proceeds both from
an urge to communicate and as a result of the desire to project himself.
Does he then choose to communicate with his equals—his equals of today
or tomorrow—or does he prefer to speak to his juniors? That remains a
consideration for the composer and a decision for him to make.
. It is . . . quite possible that the varying needs for repetition correspond to varying mental and psychological types. . . . . The idea of repetition and variation can be replaced by the notion of constant rebirth, of true derivation: a stream that never comes back to its source; a stream in eternal development, like a spiral, always linked to, and continuing, its original source, but always searching for new and unlimited spaces. A spiral would perhaps be an answer: an idea that evolves in perpetually renewed forms without ever repeating itself.
Carlos Chávez
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