“Neoromanticism has almost always been regarded with suspicion by critics, even though it has been embraced by at least as many composers as has neoclassicism. (The second edition of the New Grove Dictionary of Music and Musicians devotes twice as much space to neoclassicism as to neoromanticism.) Is this because neoromantic music is inferior in quality? Or is it merely the last gasp of the same prejudice in favor of innovation for its own sake that once led avant-garde composers and their critical sympathizers to dismiss all tonal music as “useless”?”