In the last one Mr. Sandow points out that critics have frequently misjudged their conservative contemporaries. He ends with this:
And what their evident mistakes about Sibelius and Brahms might show is that --while we laugh at a lot at critics who can't understand advanced new music -- critics who can't understand the conservatives of their time can be equally absurd. Who are we misunderstanding now?In order to answer that last question we have to be able to say what would constitute "conservatism" in composition today. Anybody got any ideas?