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Subject: Re: Critics (was Re: Renata Tebaldi)
From: Jay Kauffman <[log in to unmask]>
Reply-To:Jay Kauffman <[log in to unmask]>
Date:Mon, 20 Dec 2004 11:36:18 -0800
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Let's not forget Conrad L. Osborne who wrote extensively for High Fidelity during the golden days and still writes occasionaly; the best writer on the lyric theater that I ever read bar-none. Jay

Mike Richter <[log in to unmask]> wrote:At 12:41 PM 12/20/2004 -0500, Jeffery Kennedy wrote:

>The Tommasini obituary in the "New York Times" is shameful: It is full of
>inaccuracies and flights of fancy. He should take writing lessons from
>Richard Dyer, whose obituary in the "Boston Globe" is accurate, direct and
>respectful.

Good music criticism is hard to come by and the reasons are not hidden.
After all, we require of the critic the knowledge of a musician, the
discipline of a journalist, and the facility of a novelist. The Virgil
Thomsons and Richard Dyers of the world have never been many; let us be
thankful for them when they are writing and not be too disappointed when
the writer with a deadline does not meet that standard.

There's a line - I believe from Thurber - "Don't get it right; just get it
written". To the extent that newspapers are forced to follow that
philosophy, the critic is stuck with constraints on time and research. Dyer
has decades of experience and a commendable memory to lessen the problem;
the whippersnappers turn hastily to reference volumes which themselves may
be inaccurate.

So hold the critic to the high standard - but recognize that he/she may
find that an unachievable ideal. Suggest that Dyer's reviews and those of a
few others (I can't resist adding Martin Bernheimer) serve as tutorials for
them. But I ask that you recognize: they are hard-working folks who seldom
have the freedom to do the job they wish they could.


Mike
--
[log in to unmask]
http://www.mrichter.com/

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