Frequent trips to Paris which was to become our home in 1925, sometimes for concerts, at others to sit on the jury at the Conservatoire examinations or to judge the contests for the Prix Edouard Nadaud (a contest comparable in importance to our Schubert Memorial Award), gave me a gradually clearer insight into the musical ideas and practices of this great center. My sitting on the jury at these examinations and contests afforded me particularly rich opportunities to observe stylistic and technical trends. To compare notes with fellow jurors of the stature of a Lucien Capet, the great Beethoven-quartet player, of a Thibaud or an Enesco, was always a stimulating experience that sent me back to Geneva refreshed and eager for activity. << less