The resolution on 23rd April 1932 appealed to the consciousness of the Soviet artist. Soviet artists had not withstood scrutiny. After 23rd April, youth was inspired to study. The problem was, we had to master the skills and techniques of composition. We developed an enthusiasm for modern western composers. The names of Hindemith and Krenek came to be symbols of advanced modern artists. [...] After the enthusiasm for western tendencies came an attraction to simplicity, influenced by composing for the theatre, where simple, expressive music was required. We grew, our consciousness also grew, as well as the aspiration to be genuine Soviet composers, representatives of our epoch. Compositions by Hindemith satisfied us no more. Soon after that Prokofiev arrived, declaring Soviet music to be provincial and naming Shostakovich as the most up-to-date composer. Young composers were confused: on the one hand, they wanted to create simpler music that would be easier for the masses to understand; on the other hand, they were confronted with the statements of such musical authorities as Prokofiev. Critics wrote laudatory odes to Shostakovich. […] How did young composers react to "Lady Macbeth" ["of Mtsensk"]? This opera contains several large melodic fragments which opened some creative perspectives to us. But the entre‘actes and other things aroused complete hostility.