"Whatever the limitations of his personality, whatever the restrictions upon his artistic imagination, he has been victim of the most violent prejudices and has been measured by a yardstick to which it was never his ambition to conform. It is entirely likely that Strauss, a man who seemed remote from the time in which he lived and totally unconcerned about the future, will, because of the new orientation of that future, gather a greater admiration than he ever knew." ("Strauss and the Electronic Future," 1964)"For Hindemith, however, and by his own admission, the ritual of craft preceded the vision of the creative idea. In this regard, it's perhaps instructive to think of Hindemith as the obverse of Scriabin, a composer for whom reason was the by-product of ecstatic experience. And Hindemith, like other composers with similar priorities--Sweelinck, Telemann, Reger, Miaskovsky--will, I suspect, be the subject of many revivals and many attempts at re-evaluation. Whatever the verdicts of future generations, they will have to reckon with a composer of prodigious gifts, a composer who, in his anxiety to validate his syntax, to propagate his theorems, sometimes permitted those priorities to divert his attention from the goal he so often acknowledged and which, when properly adduced, is the true amalgam of ecstasy and reason--repose." ("Hindemith: Will his Time Come Again?" 1973)
"The role of the forger, of the unknown maker of unauthenticated goods, is emblematic of electronic culture. And when the forger is done honor for his craft and no longer reviled for his acquisitiveness, the arts will have become a truly integral part of our civilization." ("The Prospects of Recording," 1966)
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