 But originality was no virtue; personality was.Great music, like Beethoven’s, is admired because the composer’s personality shines through; Beethoven’s daring originality is now only of historical interest.However, Ryelandt was highly critical of atonality, claiming that the modernists’ “empty game of sound combinations brings us no interior enrichment at all,” and that the value of works like Honegger’s “unforgettable” Jeanne d'Arc au bûcher lay chiefly in their tonal passages.