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I am startled by reading Edmund Wilson. When I think about why, I recall an experience I had twenty-five years ago when I had the chance to hear—or, more accurately, to overhear—Rudolf Serkin rehearse the Beethoven Choral Fantasy before a public concert. There was in Serkin’s playing a commitment to the music utterly uncompromised by the preliminary nature of the occasion; he played with a fervor indistinguishable from what he brought a few hours later to the public performance. Reading Wilson recalls for me this experience of overhearing a great artist give expression to a private passion.
Wilson