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27. 11月3日GRE考试原文：Music----Landowska when, in the twentieth century, the concept of the virtuoso-as-hero retired, as a replacement came the scholar-pianist, the musician-pianist, the re-creator of the composers thoughts. With this change came the abdication of technique. Virtuosity in and of itself, indeed, became something of a dirty word. One of the important new figures, though she was a harpsichordist and not a pianist, was Wanda. Landowska, she was the one who demonstrated how Bach, Handel, Scarlet and Couperin sounded on the instrument for which their music was originally conceived. It would be a mistake to consider Landowska a classicist, however. She had been born in an age of romantic playing, an age dominated by the figures of Liszt, Leschetisky and their pupils. Thus she grew up with certain romantic traditions of performance and whatever the stringency of her musical scholarship, for Landowska knew how to hold an audience breathless and when she gave a recital, it was to the accompaniment that all great artists receive deathlike silence and rapt attention. Her playing was romantic, but who is to say that it was not closer to Bach then the dry munching of some later harpsichordists? She had a miraculous equality of touch, with a left hand that seemed to say the least, colorful. But no artist in this generation could clarify with such deftness the polyphonic writing of the baroque masters. And none could make the music so spring to life. | 
