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But no: Prokofieff grew.

He accepted the environment of his destiny -- took root and grew to fulfill the stature of his early promise.

By 1937 he had clarified his intentions to serve his people: `` I have striven for clarity and melodious idiom, but at the same time I have by no means attempted to restrict myself to the accepted methods of harmony and melody.

This is precisely what makes lucid, straightforward music so difficult to compose -- the clarity must be new, not old ''.

How right he was ; ;

how clearly he saw the cultural defection of experimentation as an escape for those who dare not or prefer not to face the discipline of modern traditionalism.

And with what resource did Prokofieff back up his Credo of words -- with torrents of powerful music.

Compare the vast difference in scope and beauty between his neat and witty little Classical Symphony and his big, muscular, passionate, and eloquent Fifth Symphony ; ;

or the Love For Three Oranges ( gay as it is ) with the wonderful, imaginative, colorful, and subtle tenderness of the magnificent ballet, The Stone Flower.

This masterpiece has gaiety, too, but it is the gaiety of dancing people: earthy, salty and humorous.